Private Project

The Ol' One Two

An irresponsible man is held hostage inside an unworldly time machine by his vengeful future self.

With support provided by:
- The P.E.I. Arts Grant through Innovation P.E.I.,
- and FilmPEI’s In-Kind Assistance program.

  • Daniel Brown
    Writer / Director / Producer / Editor
  • Ryan McCarvill
    Key Cast
  • Becca Griffin
    Key Cast
  • Sharlene Kelly
    Production Manager
  • Thomas Mears
    Director of Photography
  • Jahan Bloch
    Assistant Director
  • Kelly Caseley
    Production Designer
  • Shawnte Burrell
    Key Hair, Wardrobe & Make-up
  • Curtis MacNevin
    Sound Recordist
  • Nathan Carter
  • Alex Gallant
  • William Wright
    Production Assistant
  • Pat Caron
    Camera Assistant
  • Project Type:
  • Runtime:
    16 minutes 33 seconds
  • Completion Date:
    May 31, 2021
  • Production Budget:
    7,000 USD
  • Country of Origin:
  • Country of Filming:
  • Language:
  • Shooting Format:
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
  • Charlottetown Film Festival
    October 24, 2021
    Best Performance in Acting: Ryan McCarvill & Emerging Filmmaker Award: Daniel Brown
  • Brackley Drive-In Short Film Festival
    Brackley Beach
    June 9, 2021
    World Premiere
    Official Selection for Inaugural Event
Director Biography

Daniel Brown is a journalist and filmmaker from P.E.I., Canada. He’s written, produced and directed two short films - an amateur and reflective character study, Sanctus Gladio (2019), and a government-funded time travel flick, The Ol’ One Two (2021).
These two films showcase Brown’s aptitude and steady progression, as well as his attempts to tell full, original stories that are both feasible and ambitious to make so he can continue to grow.
He's currently working to write and one day direct a debut feature film.

Add Director Biography
Director Statement

The Ol' One Two took two years to get from script to screen and I couldn't be more thankful for how it turned out and for the ways it pushed myself and my team. It was a highly technical project requiring extensive preparation and way more resources than we had, but with a solid plan (see the "Camera Clock" image) and a supportive team we were able to film everything in two days. Because as my Dad always says, "you work with the material you got."
The film aims to tell a rounded story and perhaps to have some element of it linger in the viewer's minds afterward - such as its seamless acting, its motivated cinematography or its universal themes.